Sequins of Events

It was the Friday night presentation of Mohamed el Hosseny’s workshop. Mohamed el Hosseny is the director of the El Hosseny Dance Company and School in Helsinki, Finland. I wasn’t sure what to expect, as I hadn’t attended a weekend workshop in a couple of years. My stamina and strength weren’t what they used to be. Well, I knew immediately that I would be challenged. Don’t get me wrong – Mohamed’s technique is intense; however, his presentation was easy to follow. I actually didn’t realize how hard I was working till we took our first break two hours later. How the time flew! I found I still had a smile on my face. As a matter of fact, everyone was smiling and sweating.

The music was fun and fresh. I was surprised that many of his movements were based on the basic moves I had learned many years ago. However he took them to a whole other level, and showed us that with a tweak of the movement along with knowledge of where it comes from, and what story you are telling, that anyone – including me – could create an incredible movement and or performance. His breakdown of the combinations was simple and easy to follow. As Mohamed watched us progress, he sped up the movement to full speed allowing us to follow along.

He touched on Saiidi (dance) and said that it was made up by the Egyptians. As they toiled and worked with the Arabian horses, they imitated them and a dance form came about. After three great hours, it was time to rest. I left tired, yet inspired and looking forward to Saturday.

Arriving a little late Saturday, the class had already begun, and I was able to join in without feeling lost. Mohamed was teaching beladi basics. The music was new, lively, and a lot of fun. Mohamed’s philosophy is that you should know your beladi, and then you can refine it for other styles.

After lunch we learned Mohamed’s technique for interpreting Umm Khaltoum’s music, especially “Fakarouni’. It is based on the emotional content of the music, and he told us that you must listen to the music and that subtle movement was appropriate. His interpretation was quite beautiful. I personally feel you should have some kind of emotional attachment to your music.

Sunday consisted of Shaabi technique and Mohamed’s signature style, simsimiyya. The chorography for the Shaabi style was energetic and fun. This is my new favorite style. It is from the streets of Cairo and Alexandria – basically urban Beladi. He says you must act “horrible” (that is – relaxed, chill). The entire class was having fun and being “horrible”.

After the break we worked on Simsimiyya. Coming from the Suez canel area, Mohamed grew up dancing this wonderful folk dance. This high-energy dance was fun to learn, and you could see his passion for this style. He owned it. We played and danced with spoons, which Mohamed explained was all the people had, so they used them to create music.

There was so much I learned that weekend, I didn’t want it to end… and it didn’t.
The Sunday evening show at the Regent Theatre was a wonderful array of performances by some of Boston’s premier dancers and the master himself.

Through Mohamed’s performance and expression, you can see his passion for this dance form, and through his wonderful teaching technique he imparts this passion to his students. The evening came to a close with the fabulous Za-beth playing her magical zills, calling all dancers to the stage. Like the Pied Piper, the pupils followed the muse.

My only negative statement is that that it ended too soon! And for those of you who missed this wonderful experience, el Hosseny is a must-see next time! A million thanks to Nourhan Sharif for sponsoring this incredible master of the dance, and to Za-beth for co-sponsoring a hassle-free and wonderful event. – reviewed by May el Amar (Marion Klaussner)

Presented by the Dobersheik Dames Dames Tribal Dance Collective at the Perishable Theater, Providence, RI.

On the morning of March 21st, I hopped in the car with no small bit of trepidation. I knew Jill Parker by reputation as an original member of Fat Chance Belly Dance, director of Ultra Gypsy,  and “mama” of the modern tribal fusion belly dance movement. I was greatly looking forward to the “Shimmy in the Spring” show that evening and my camera was charged and my best lens on and ready to snap away. I just wasn’t sure I’d survive. This was Jill Parker! I’m mostly a cabaret and folklore girl. What was I thinking?

Imagine my surprise when I realized that not only was Jill an excellent teacher who shared a variety of well-taught combinations in a way that was challenging yet thorough, but the combinations she taught were incredibly versatile. There is no question that proper dance technique forms the basis for all that Jill has built upon it. From her fast, saucy combos to her smooth, sensual moves, any of these could be adapted to anywhere from the cabaret floor to the vaudevillian revue and look fabulous. I hope she will come back to New England!

“Shimmy in the Spring” had not only diverse and entertaining dancing, but a few delightful surprises. Blue Moon Caravan, Neylan’s students of tribal and tribal fusion, opened the show with a wacky rendition of “The Lunatics Have Taken Over the Asylum”. It is rare to see a tribal solo, and Julyana was lovely, her tribal moves adapted to individual performance with fluidity and soul. Goddess Delight glittered on the stage with a well-rehearsed grace that only a troupe that has been together a long time can attain. Ameena performed a veil dance that was fiery,  passionate and powerfully emotive.

The first surprise was mind-reading wonder Rory Raven, who could accurately “read” through envelopes containing information provided by audience members. I hope to see him again – but then who can resist a guy in a tux? OmBellyCo gave an excellent improvisational troupe performance. These talented ladies are queens of traditional ATS-style tribal, from their colorful swirling skirts to their smooth transitions that allow each member her time in the spotlight while still maintaining the group dynamic.  Jesi’s tribal fusion was steamy and strong with a gaze that captured your attention. The Dobersheik Dames took the stage as Neylan and Samara presented a Bhangra/Indian fusion piece. Sharp, elegant and well-done, this piece was energetic and graceful at the same time.

Troupe Moirae opened Act Two, taking immediate command of the audience with their sassy style of tribal improvisation and playful attitude. Neylan then took us on a heartfelt journey with a cabaret piece that echoed the intense emotions of childbirth and love (my interpretation). Tempest dazzled as the temptress “Whore of Babylon” from the silent film masterpiece Metropolis. Her costume – her own creation from Art Deco headpiece to sparkling skirt – was perfectly vintage, but her dance was all her own, expressing her story with movement and facial expression. Samara danced a dark and edgy piece, blindfolded! Ela Rogers delighted and hypnotized with her signature tribal fusion style – always powerful!

Jill Parker performs in "Shimmy into Spring". Photograph by Heather Emerson, courtesy of Dreamer's Realm Photography.

Our next surprise was Lux, a troupe of three poi spinning artists who performed eye-popping spinning in concert – in the dark with glowing poi! The images blurred to create visions like a psychedelic Spirograph. Last but not least, Jill Parker herself took the stage. She was dynamic and confident, and her experience gave her a regal bearing that was softened by her smile and playful manner. But then, what do you expect from such a fabulous “mamma”? The day and the night were a delight and I can’t wait to see what Neylan puts together for next spring. – reviewed by Heather Emerson, Dreamer’s Realm Photography

Melina of the Daughters of Rhea has opened her new studio, Moody Street Circus, in grand style offering some new classes and workshops.  The studio is large and spacious, with high ceilings, mirrors, hardwood flooring for belly dance, and a space rigged for circus arts. Several of us lucky participants were able to “christen” the new aerial rig during Una’s Silks and Corde Lisse workshop on the weekend of January 23rd, and it was an experience we won’t soon forget, I’m sure!

Una Mimnagh of Circus Flora has taught herself most of what she knows as an artist and aerialist. She has toured across the country with not just Circus Flora, but also Big Apple Circus, Royal Hanneford Circus, Bindlestiff Family Cirkus, and Alaska’s Circus Boreal. She performs on the trapeze, lyra (an aerial ring about the size of a hula hoop), corde lisse or vertical rope, and a solo web (without a web sitter assisting).

Watching Una climb the silks effortlessly as she showed us what we were about to do filled me with a sense of awe, fear, doubt, excitement, and envy.  Sure, a lot of those feelings sound negative, but what comes from trying anything of which you are afraid but excited by is profoundly positive: feelings of empowerment, strength, joy, and accomplishment.  That, and sore legs and arms–but no pain, no gain, right?

We started with a lot of deep stretching, easy stretches that really got to areas that I hadn’t felt before. Once we were stretched and warmed up, Una showed us the first skill we would learn (or attempt): the climb. The explanation was detailed and simple, and made perfect sense.  I would hold both silks in my hands, allowing the silks to fall down the center line of my body.  Wrapping the silks around my right calf so it wrapped from the inside of my thigh down across my ankle, I flex my right foot to create a platform. I press the ball of my left foot on top of the portion of silk crossing my right ankle, now I am standing…but I haven’t climbed yet.  Next, I must hold myself up, while releasing my left foot out in front, and pulling my right leg to my chest keeping my wrap in place, then return to my standing position.  Piece of cake.  Well, it would have been if I was strong enough to hold my own weight. The students who had enough arm and ab strength to hold on could climb more easily, but everyone could get at least one climb in.  It was difficult, but felt good.

Our next skill to learn was a figure-eight foot wrap, where we would wrap the silk around our right leg as in the climb, but then we would pull some slack, wrap the silk around across the ankle and under the foot, ensuring all the toes were out.  Then we could stand up tall, all the weight on the right flexed foot, hip pulled tight to the silk.  When in this simple position, the posture made me feel graceful and powerful, my body was aligned and sturdy.  From here we could pose, lean back, and be creative and artistic.  It was fun posing for the many cameras that the other students brought!  The last part of this skill, called “Death of a Salesman” was to sit down on the ankle, hold myself in a ball and allow myself to drop into a spin with no hands.  I think some were afraid to let go, but I enjoyed it.  It pulls really hard on the inner thigh, but was fun and we could be silly or dramatic.

The third skill was an invert. Yes, it is exactly what it sounds like.  Holding the fabric in both hands at my sternum, chest lifted and strong, feet apart and silk trailing over the right side of my body like a sash, I was guided by Una into a position I can only call disorienting. Before I knew it, I was upside down, had no clue how I got there so fast and so easy, and couldn’t figure out where my rear went (it was where my head used to be a second ago).  Pulling my hips to my hands tight forced my back nice and straight, allowing me to release my legs into a straddle that folded over until I could see my toes.  Never saw them from that angle before! Rolling my spine down until I was right side up again allowed me a gentle and short fall onto the very cushy mat below me.  This was fun.  This was really, really fun!

Our last skill was a split.  This made me nervous because I can’t even come close to a split on the ground.  All the rules change once you get in the air!  We started with a figure-eight foot wrap on the right, made sure we were nice and sturdy, then learned to wrap our left foot the same way.  Once I had that all set, I was feeling very confident and strong.  Then I squared my shoulders to the right silk, held on with both hands and slid down until my legs were split as far as I could go.  Then I straightened myself up again and tried it on the left side.  This was so cool to do, I felt amazing!  I went much further down than I thought, and was doing something I never thought I would do.  We were given an option; if we were feeling “spry” we could flip ourselves around from the split position.  This required bringing the front leg over and through the space between the two silks and ending right-side-up.  All while staying in the split.  I was feeling spry so I went for it.  Surprisingly simple, though I had a little trouble getting my weight around.  I had to go the other way to release myself from the wrap, and then I could stand up and release the figure-eight wraps, landing on the mat.

After we took a break, we were allowed to act like silly monkeys and keep trying all of the skills we learned. Una demonstrated some of her amazing talents, which was like watching her dance in the air with a partner—easy, graceful, strong, trusting, and with perfectly pointed toes. Una has great skill in teaching; spotting us, explaining everything we needed to know in an uncomplicated way, demonstrating what to do and what not to do for each move, and showing us options to make the moves more artistic.  With a “buh-da-da” and a “voila!” she guided us into unfamiliar territory, and praised us for getting there.  Even when I struggled, she did not make me feel weak, but inspired me to try again, or to work on it for another time.  Though I am quite sore, I know I gained a bit of strength from the workshop, both in my muscles, and in my spirit.  I tried something scary and beautiful, something I doubted I could do, and in trying I proved to myself that those things are not impossible—in fact, they were very possible.  This workshop made me want to take regular classes in circus arts, and to strengthen my body.  I had a great time, had a great experience, and discovered some abilities I did not know I had! Many thanks to Una for sharing your talent with us, and thank you to Melina for hosting a wonderful workshop! – reviewed by Jessi LoBello

“Descent: Desire. Dances of the Dark Goddess. Where do Eros, the Sacred, and the dark heart of the Underworld intersect? We answer this question with the art of Belly Dance . . .”
Thus we are introduced to Aepril Schaile’s Exquisite Corpse Productions’ presentation of “Descent II: Desire.” This show, held in the timely and appropriate location of Salem, was a fabulous collection of dark, powerful, and sacred works each clearly reaching deep within the dancer and pulling forth their own darkness. After an invocation to the Four Corners, Aepril Schaile herself, acting as emcee due to an unfortunate injury, drew us in to her vision. Flawless lighting illuminated the altar and professional sound filled the sanctuary as dancer after dancer performed their interpretations of various poems and readings, goddesses, and victims. This was not a show for the faint of heart; it was more of an internal journey and thought-provoker than crowd rouser.
First up was the newly-formed duo Datura, Amelia and Libby, who are both members of Schaile’s Exquisite Corpse Dance Theater. Their piece, meant to convey the “feminine struggle to find autonomy in a world where women are taught to be quiet and inconsequential,” was performed to the deep rhythmic sounds of PIG and Nine Inch Nails. Amelia and Libby are well-matched, their moves well-synchronized, and their gothic/industrial styles blend beautifully. I look forward to seeing more from them! Erica Joan followed with a raqs sharqi piece that explored the Greek myth of Psyche, using the veil as a means of communicating transformation, with zills providing occasional punctuation. Jesi of Boston gave a performance that was chilling, powerful, and heartbreaking as, with wrists bound before her, she enacted a very personal and painful piece about Stockholm Syndrome and abuse. I can’t imagine there was an audience member whose blood did not run cold and want to weep for this catharsis on stage, and for the courage it must have taken to perform it. Jesi communicated very clearly, yet danced it through it all.

An intense moment from “Descent.” Photo by Allison Perkel, courtesy of Aepril Schaille.

Troupe Moirae came force with a creative new piece “exploring the timeless forces that live within every women: innocence, desire, danger, and fear.”  We watched as the innocent Di’Ahna moved from innocence to power through her interactions with her two sword-wielding foes, who eventually are beheaded as she comes into her own. The intriguing use of group movements and swords in this piece makes it my favorite Moirae piece yet.  Guest performer and workshop presenter Sarah Jezebel Wood of Solstice Dance Ensemble portrayed the goddess Artemis in her performance, tricked into slaying her love. Sarah combined her impressive dance skills with her theatrical bent, telling her story clearly through her motions.
Ela Rogers captivated the audience with her larger-than-life portrayal of the goddess Kali, the Destoyer. Ela’s costume, make-up (red tongue included!) and headpiece made her look like a real statue, but her dance made it clear that she was Kali brought to life with her stylized movements and her fabulous expression. She projected Kali from head to toe, and woe-betide the audience member who dares to look upon her! She has a way of making you feel that she is looking right at you all the time, no matter where you are.
Alia Thabit of Vermont made a guest appearance performing her vision of the story of Medea, a story for which she is currently developing a full-length dance theater piece. Alia brings great emotion to the stage, using her dance to tell her story and very much embodying her character.
Vadalna Tribal Dance Company took on a decidedly modern issue of the separation of body and spirit and the isolation we find in modern society due to increased use of technology. With a video display flashing images behind them, the four dancers communicated the struggle – and the hope for peace – between body and spirit. This was an interesting piece, although not quite as crisp and tightly performed as I usually see from Vadalna. They are a highly talented and visionary modern dance troupe and I’ve been spoiled by their high quality performances. Last but not least, guest performer and workshop presenter JeniViva Espinet danced the consequences of a goddess loving a mortal. I could watch this woman dance for a long time, so I almost called out in protest when the piece ended so quickly! It was my first time seeing her perform, and her ability to project emotion and drama through dance is fabulous. She not only creates a vision, but she brings it to life.
Descent was a well-crafted and organized show and I greatly look forward to the next one. I had only two disappointments: first, that I didn’t get to see Aepril herself perform – please get better so we can watch you again! You are always a powerhouse on stage! My second disappointment is that there should have been more people attending! It seems a shame that a show of this quality should not be better attended. I have heard from a variety of people that tickets were overly expensive at $30 apiece, and with the economy as it is now, that is understandable. The other challenge was getting into and finding parking in Salem in October, which was indeed an issue.
Those things being said, this is a show worth seeing if you enjoy the challenge and variety of modern belly dance fusion styles or exploring the feminine sacred in its dark and powerful forms. The performances were top notch all the way, and the show powerful and well-presented. I will be make a point to be there next year! – reviewed by Heather Emerson